Munich was the city which hosted the fifth date of the German tour. As in the previous stages of Berlin, Leipzig, Stuttgart and Hamburg, as well as Mannheim scheduled for tomorrow, Josep Carreras was accompanied by the young Russian soprano Venera Gimadieva, Maestro David Giménez and the Prague Symphony Orchestra in the Bavarian capital.The majestic and prestigious of the Philharmonie am Gasteig hall was sold-out, completely full, and the stage, surmounted by the screen that would project some of the most emblematic images of his glorious career, was decorated with a refined flower arrangement of white roses and hydrangeas.The audience proved its warmth from the very beginning wth the arrival of the orchestra (in which some very young members stood out) and the conductor, David Giménez, who opened the concert with Bizet's Arlesienne Suite Bizet. However, the enthusiasm was unstoppable as Josep Carreras joined the stage: after showing gratitude for such heartfelt welcome he delighted with Era de Maggio and later with Canción Húngara (from zarzuela Alma de Dios) and T'Estimo: with such songs, which proved ideal in order to create an intense atmosphere from the very beginning, he showed to be at ease, in good shape: in facts, his voice sounded extremely powerful from the first rows and perfectly reached every points of the hall.His young collegue, Venera Gimadieva, performed two songs, Je veux vivre from Roméo et Juliette and Mercè, beloved friends from Verdi's I Vespri Siciliani, before joining Carreras in duet in Satie's Je te veux. At that point, the Orchestra played Shostakovich's Jazz Suite. Waltz No. 2, during which you could watch more pictures on the screen (some of which very popular) of remarkable moments and personalities in the legendary tenor's career.To mark the end of the first part, Carreras offered a charismatic rendition of The Impossible Dream.As specially planned for this tour, the second half of the concert provided a non-symmetrical structure with respect to the previous one: the show resumed with Carreras who proposed his lovely Lejana tierra mía and Passione; before the latter, however, the soprano interpreted a seductive version of Délibes' Les Filles de Cadix.After La Boda de Luis Alonso, third orchestral interlude and opportunity to relive the great moments of the past through the screen, both Josep Carreras and Venera Gimadieva stayed on stage until the end of the official program offering a very assorted and well-arranged medley: from L'Ultima Canzone to Rosó, from Ya mis horas felices to duets Tonight and Lippen Schweigen.Actually, it was the final opera triad which definitely excited the audience: Habanera from Carmen for Gimadieva, whose interpretation was praised by Carreras himself (though obviously her voice is not the most adequate to sing that), who then reached the expressive excellence in a fragment of the aria Vesti la giubba. I cannot really describe you the way he said 'Ridi del duol che t'avvelena il cor': it was devastating.Finally, a really enjoyable version of Brindisi duet from La Traviata, in which the singers have further consolidated their mutual understanding. From that moment, the Philharmonie audience, forced into silence throughout the medley, started shuddering and rewarded the artists with repeated, tireless standing ovations and bravos, creating a crescendo atmosphere which involved the encores part too.In order to match the warmth with which the audience cheered particularly Carreras, of course, a six-encore answer was necessary: with Chitarra Romana, Core 'ngrato and Vierno the tenor put us emotionally down on our knees, masterful and passionate thanks to his sincerity and his exquisite finesse.Venera Gimadieva sang O mio babbino caro and Mein Herr Marquis, confirming the magnificent impression of her previous executions: excellent voice and great charisma.Finally, an unavoidable duet with Non ti scordar di me, which acquires a new, particular light from the point of view of a long, final world tour that swells our hearts with nostalgia and gratitude for all all what this meant always will to us.